Clark And Menefee, Architects Essays - Menefee, Formwork, Plywood

Clark And Menefee, Architects Maggie Cookman September 27, 2000 The Reid House was structured by W.G. Clark and Charles Menefee and implicit Johns Island, SC in 1986. Menefee and Clark structured essentially in the American South. Clark and Menefee are known for their tripartite vertical association. The base level typically comprises of optional bedroom(s)/studio spaces and administrations. The First floor is a piano nobile of chief rooms with a twofold stature living space. The upper room level generally comprises of the main room and shower. The Reid House is set up in this style. The house is situated in a humble setting, encompassed by house trailers and inexpensively manufactured houses. The picture of the house was gotten from vernacular ranch structures just as from increasingly formal Palladian structures. One creator depicted the setting as Johns Island, a tranquil scene where truck ranchers tend tomato fields cut out of clean pine and midget cedar woodlands, and where the front yards of shacks are covered with trashed vehicles, rusting farming hardware, and other rotting impedimenta of the Industrial Revolution. The house is a three-story tower with two parts. The first is a 20 ft. sq. segment made of solid square, lodging the living and rooms, alluded to as the served space(s). The subsequent part, alluded to as the serving space(s), is a wood-outline shed that holds the kitchen and the washrooms. These two segments are joined at the chimney and smokestack, around which the step winds. The materials utilized for the house are cheap, with regards to the encompassing structures. One area is made of solid squares, uncovered within and secured with waterproofing paint outwardly. The other piece of the house is sheathed in pressed wood and secures and its rooftop is shrouded in black-top shingle. The floors are painted pine, the inside segments, painted pressed wood. The all out expense of the house was $102,000, just $2,000 over the spending that the Reids had set. They needed the house manufactured in light of the fact that they needed to move their two little kids out of a trailer home, and they needed to have a bigger space in which they could deal with their 120-section of land horse ranch. The absolute region of the house is just 1600 sq. ft. One creator noticed that the house [reconciles] grand goals and unobtrusive methods. W.G. Clark is anything but a local to Charleston. He labored for a long time for Robert Venturi before going to work with Charles Menefee on the Middleton Inn for Charles Duell. This task was Clarks first significant work, and was more in line with crafted by Peter Eisenman. Charles Duell, a Middleton descendent, cooked up the possibility of the Middleton Inn, 15 miles outside of Charleston. He imagined a guesthouse and gathering focus, and anticipated occasional visitors who wanted bloom celebrations and other yearly occasions. The Inn was remote from city vacation destinations, and Clark benefited from this and made it a country retreat in the forested areas. The Inn was loaded up with Charleston subtleties, which assisted with overcoming any issues between the city and the rustic hideaway in the forested areas. These subtleties included earthenware stack pots, wooden screens, stick-style furniture, extraordinary plaster called slave coat, and Charleston Green paint, which highligh ted the structure amidst the trees and development in the encompassing woods. Clark and Menefee exemplified an extraordinary American uprightness, limitation. Their structures had a straightforward and clear proper request, and were smaller in plan. Their conviction was that liberality was accomplished in area. In depicting their engineering, one pundit takes note of that Clark and Menefees structures distil an instructive language through which both conventional significance and development can be uncovered and comprehended. It was additionally said that their homes were glorified structures sitting determinedly on the site in the old style way. Their structures were little and brief, and inside completions were now and then unpleasant, yet their art was amazing. Clark and Menefee prevailing in down to earth plans, while streamlining on financial plans and space.

Beowulf - The Ideal Hero Essay -- Epic of Beowulf Essays

Achilles, Beowulf, Gilgamesh, Samson and Heracles would all be able to be portrayed as saints. In any case, every one of these characters typifies various traits that gain them the chivalrous differentiation. This paper will look to show that Beowulf is the â€Å"most† gallant figure dependent on his adherence to the chivalrous ethos. Additionally, the character of Gilgamesh will be utilized as a methods for correlation with further feature the courageous idea of Beowulf. The courageous ethos is a lot of qualities that organize and celebrate the valor of a person. The inspiration of the saint is to accumulate popularity and eternality in legend, bringing about accomplishments of greatness. Qualities of the chivalrous ethos remember administration to individuals for the upper degree of the pecking order (for example connection among ruler and thane), an exceptional relationship to god (extraordinary doesn't really mean positive as on account of Heracles and Hera), significance in fighting/killing, steadfast, fearless, imperative, and (nearly) safe. For the saint, the most noteworthy great is brilliance and the most noteworthy fiendishness is disgrace. Beowulf, the child of Ecgtheow and Hygelac’s thane is presented by Heaney as a valiant warrior. The peruser promptly sees that Beowulf is very much regarded. The tone of the work recommends that even the storyteller holds him in high regard, â€Å"the man whose name was known for fortitude, the Geat Leader† (Heaney, 11) (the part is qualified â€Å"The Hero wants Heorot†). Beowulf is presented with greatness. He is permitted to specify his own name and proceeds to portray a portion of his accomplishments, â€Å"They had seen me boltered in the blood of foes, when I fought and bound five monsters, assaulted a troll home and butchered ocean †brutes† (Heaney, 13). Prior to really observing him in real life, the peruser knows that Beowulf is an incredible warrior whose father is well regarded. From the underlying presentation, it is normal that Beowulf will have the option to achieve excessively human undertakings.      Similarly, Gilgamesh is additionally given an excellent presentation. He is portrayed as, â€Å"the most grounded one of all, the ideal, the terror† (Ferry, 4). Be that as it may, the general perspective on Gilgamesh isn't as noteworthy as Beowulf. The individuals of Uruk are deploring to the god Aruru: (Ferry, 5) â€Å"Neither the father’s child nor the spouse of the honorable is sheltered in Uruk; neither the mother’s little girl nor the warrior’s lady of the hour is protected. The elderly people men state: Is this the shepherd of the individuals? Is t... ...fraid of its greatness. In Gilgamesh, the Gods are acculturated. They capitulate to want (as appear with Ishtar when she is craving Gilgamesh) and vengeance (the flood). In Gilgamesh, the Gods are legitimately engaged with a portion of the activity. In Beowulf, God is a verbal nearness. In both Gilgamesh and Beowulf, the saints had a relationship with God/Gods. Nonetheless, as delineated over, these connections were totally different. Beowulf had an immediate otherworldly association while Gilgamesh addresses the activities and even restricts one of them (Ishtar).      Beowulf and Gilgamesh are both regarded saints. As indicated by courageous ethos, Beowulf ends up being the more valiant, decent one. He encapsulates the important qualities of the Anglo †Saxon/Germanic legend (boldness, faithfulness, and significance in fighting/fight). In any case, it can likewise be contended that Gilgamesh is an extraordinary saint as a result of his difference from the traditional gallant model. Numerous perusers can associate more with Gilgamesh in light of his â€Å"humanness†. At long last, he comes to comprehend that demise is a piece of life and that one can at present live on everlastingly through their achievements (for him, it would be through Uruk).

Volunteer Opportunities in the Champaign-Urbana Community

Volunteer Opportunities in the Champaign-Urbana Community Volunteering is one of the most selfless ways to get involved with your community, and Champaign-Urbana is a great area to find a multitude of volunteer opportunities. Today, I will give you a few incredible suggestions, some of which I have participated in myself. Keep in mind that there are tons of other ways to get involved with volunteering on campus of in the area! Check out CUVolunteer for more opportunities! SOAR SOAR is a program held at the International Preparatory Academy. Typically, University of Illinois students will get paired with a student at IPA. Once a week (or more), the university students head over to IPA and help the elementary students with their homework and English skills. I personally participated in a semester with SOAR, and I loved every moment of it. Salvation Army Volunteer The Salvation Army in Champaign holds a thrift store full of donated goods. The store often seeks a volunteer to work the thrift store, much like any other retail position. This is a great way to get involved with the Champaign community while helping the ones around you. Champaign Public Library The Champaign Public Library seeks volunteers to help library members with basic internet searching and technology information. The library asks volunteers to contribute 2-3 hours per week, so the times are very flexible. If none of these options are your cup of tea, there are hundreds of other opportunities in the area. Believe me when I say there really is something for everyone! Feel free to leave comments below for more suggestions and volunteer opportunities! Rachel Class of 2020 I am studying Middle Grades Education with concentrations in Social Sciences and Literacy in the College of Education. Although I now reside in Champaign, I am originally from Vernon Hills, a Northwest suburb of Chicago.

Presidential Transitions During The Transition Period Of...

Presidential transitions mark the beginning of a new era in the presidency, and are crucial for the success of policy agenda for each president-elect. While there are many responsibilities during this time frame, it seems that using campaign rhetoric causes policy to be more popular during the early years of the presidency. Despite the contemporary use of this style by presidents, it is not clear where this methodic governing originated. Using historical analysis and case studies, this paper attempts to discover the origin of campaign-style governing during the transition period of the presidency. Using the word diagraming software â€Å"Wordle,† the research shows trends in certain word usage that provides an in-depth look at rhetorical tools used while in the campaign-style transition. Each president had different speeches analyzed and graphed in order to get a good idea of the time frame for each transition, along with a good mixture of different opportunities for rhetorical usage. This research shows that campaign-style governing began with FDR, and continued to be prevalent through the Cold War and into the modern presidency. Keeping this in mind, we must understand that this only tells half the story. In order to expand upon the ideas introduced in prior research, a quantitative element should be added. By doing this, we add a level of validity to the existing research while answering questions in the political science community that could be extremely valuable toShow MoreRelatedAnnalee Ferguson. Dr. Wolfe. Dc American History. 30 March1268 Words   |  6 Pagesin office were very few, Gerald R. Ford allowed America to calm after the ordeal of the president before him, making him maybe not a great president, but a president that America needed. Ford’s ride to presidency was once filled with circumstances that the had never quite been seen before. 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Internet Usage in College life Essay - 1672 Words

Internet Usage in College life Who would have thought that one technological advance would change the way we look at many things in life. Who could have believed this to be true ten years ago. This technological device happens to be the Internet and it is very prevalent in our modern day society. It is involved with every facet of life from parenting to sports, from shows to artistic expression, and from education in the college realm. The Internet has changed many things including the educational system of America. This new technology has been used to evolve some of the educational system and help many aspects of education. Colleges are using this new technology to their advantage by establishing many programs through†¦show more content†¦Colleges, such as Towson, have many established programs that take place solely on the internet. One of these programs is the blackboard application system. This program allows for many different aspect of the classroom. It can be a direct connection from student to student, with discussion boards, and student to teacher. The teacher can also post assignments on blackboard, which can also be handed in through its d igital drop box. The Internet has also changed many classrooms and their structures. Some classes will meet half of the time in the classroom and half of the time in an online assignment. This creates a more flexible working atmosphere because there is not always the pressures of going to every class. Also, some classes are solely online meaning that you never have to set foot in an actual classroom. These allow for people with a busy family life or are incapable of coming to classes still receive their college degrees. Colleges and Universities also use the Internet to create and post their employment opportunities. Through a site http://www.aacu-edu.org/ you can see if some teaching positions in colleges are available. Also colleges use this online service to have their staff get paid. 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Comparitive Study Between Euripides’ Alcestis and Hippolytus Free Essays

Euripides, youngest of the three great Greek tragedians, was born c. 485 BC though he was scarcely a generation younger than Sophocles, his world view better reflects the political, social, and intellectual crises of late 5th-century Athens. Euripides’ enormous range spans contradictory tendencies:   He was both a rationalist and a romanticist;  he both criticized the traditional gods and celebrated religious phenomena He incorporated the new intellectual and scientific movements into his works but also conveyed the irresistible power of the irrational. We will write a custom essay sample on Comparitive Study Between Euripides’ Alcestis and Hippolytus or any similar topic only for you Order Now Original and experimental, he parodied the conventions of tragedy and also used new theories about the illusionist and deceptive powers of language. He created tragicomic plots. His Alcestis and Hippolytus are his two great plays. We will notice many similarities in Euripidean plays. There are many similarities in Alcestis and Hippolytus and also have some dissimilarities. Comparative studies between these plays are discussed below. In ancient Greek tragedy there has several parts—Prologue, Parados, Episode. the first Stasimon the second Episode, the second Stasimon, the third Episode, the third Stasimon, the fourth Episode, the fifth Stasimon and Exodos. The plot structures of both plays are same. In both play we find Prologue, Parados, Episode, the first Stasimon the second Episode, the second Stasimon, the third Episode, the third Stasimon, the fourth Episode, the fifth Stasimon and Exodos and also choral ode with strophe and antistrophe. In both play the unity of time, pla ce and action have been maintained. Both plays are written in Iambic Pentameter. Both Alcestis and Hippolytus open with prologue or monologue which is a common characteristic of Greek plays . In both plays the audience have lost their interest from the very beginning because everything has been told before in the prologue. The play Alcestis begins with the prologue of the god Apollo. Here Apollo stops death from taking the life of Admetus and predicts that Alcestis will die instead of Admetus. He also predicts that Alcestis’ life will be saved by Heracles, the demi god. Similarly the play Hippolytus also begins with the monologue of the goddess Aphrodite. In the play Aphrodite the goddess of love, is angry with Hippolytus because of his devotion to Artemis, the goddess of chastity and hunting. So she makes a plan to ruin the life of Hippolytus, phadra and Theseus as well. Chorus plays a very significant role in Greek plays. The appearance of chorus is mandatory in Greek plays. In the plays of Sophocles the chorus continually present on the stage. In Euripides the picture is quite different. His plays are relatively complex. He experienced difficulties in retaining chorus. In Alcestis The entry of the chorus, or the â€Å"parodos† sequence, follows: a chorus of fifteen men of Pherae, led by a â€Å"coryphaeus† (chorus-leader), enter the orchestra of the theatre. The chorus-leader complains that they are in a state of suspense, ignorant of whether they ought to be performing mourning rituals for their queen. The chorus’ lyrical ode, to which they dance as they sing, consists of two paired stanzas of strophe and antistrophe. They sing of the silence that greets their search for signs of mourning, the evidence of Alcestis’ death. When goodness dies,† they lament, â€Å"all good men suffer, too. † The chorus-leader concludes by dismissing the chorus’ search for hope in the situation: â€Å"The King has exhausted every ritual. † The Chorus is significant here and active. They informed the audience about what is happening inside the palace. Unlike Seneca’s chorus, the chorus is very active and pla ys a very important role. In Hippolytus the chorus is composed of fifteen women of Troy. In this play the chorus is mostly passive. For in a Sophoclean play the chorus announces new comers. In Hippolytus the chorus is not as active as Sophoclean tragedy. They inform the audience of the death of his wife. But under no circumstances could they speak of the criminal passion of Phaedra for Hippolytus. That would have been the height of impropriety. That is why Phaedra has to lay bare her heart to the Nurse. It is Artemis who informed Theseus of what actually happened. What mortals fail to do, Dues ex machine can. The choruses in Hippolytus therefore do not serve any important purpose as they do in the tragedies of Aeschylus and Sophocles. Euripides always highlights the role of servant or nurse throughout his plays. He always highlights the salve character. In Alcestis it is the servant who reveals the secret to Heracles that their queen is dead. Heracles gets drunk and begins irritating the servants, who loved their queen and are bitter at not being allowed to mourn her properly. Finally, one of the servants snaps at the guest and tells him what has happened. Heracles is terribly embarrassed at his blunder and his bad behavior, and he decides to ambush and confront Death and save Alcestis from the clutches of Death. Similarly in Hippolytus it is nurse who reveals the secret of her queen to Hippolytus which hastens the death of Phaedra. Phaedra took her Nurse into her confidence. But the nurse foolishly exposed the truth to Hippolytus. So we can say in both plays. Euripides reveals the truth by a slave character. Aeschylus and Sophocles had implicit faith in the Olympian gods and goddesses. Euripides had refined sensibility and looks at the divinities a little critically disciple of Xenophanes and Anaxagoras, he had a rational outlook on men and things. He was not a skeptic, far less an atheist. He profusely used the traditional myth and legends. In Alcestis, Admetus  forgot to sacrifice to Artemis, and consequently found his marriage chamber full of coiled serpents. Apollo bade King Admetus  appease the goddess, and meanwhile he obtained (because Admetus  1 was such a kind master towards him) a special favour of the MOERAE: that when Admetus  1 should be about to die, he might be released from death, if someone should choose voluntarily to die for him. â€Å"In Admetus I found a godly man. And so I rescued him from death by tricking the MOERAE. These goddesses promised me that Admetus could escape an immediate death by giving in exchange another corpse to the powers below. † (Apollo. Euripides, Alcestis 10). Alcestis dies in vicarious death Admetus could not find someone who would die for him. Only because of the role of Apollo, Admetus’ life saves and Alcestis dies instead of him. Euripides makes gods and goddesses questionable. In Alcestis, Alcestis dies because Admetus could not find someone who would die for him. Only because of the role of Apollo, Admetus’ life saves and Alcestis dies instead of him. Here the justice of Apollo is definitely questionable. In Hippolytus, the Olympian gods and goddesses plays a very important role although they are presented in the play in an unpleasant way. Hippolytus is very much devoted to the goddess Artemis and do not worship Aphrodite which makes the goddess angry and she made a plan which ruins the life of Hippolytus, Phaedra and Theseus as well. The main theme of this play is the conflict between love and chastity, infact it is the conflict between Aphrodite and Artemis. Artemis is not also totally blameless. She could have save her favorite but didn’t do so. Although the god Poseidon does not appear physically but he plays a very significant role in this play. He too is responsible for the death of Hippolytus. Euripides portrayal of women in his plays has been somewhat bizarre. His female characters kill out of revenge, kill out of jealousy and kill because a god possessed them too. Women occasionally assert dominance in the household; although, even within the home they posses limited influence over their husbands. An interesting theme runs through Euripides theatrical tragedies Alcestis and Hippolytus. In each play the lead female character forgoes her life for the sake of love. In Alcestis, Alcestis willingly gives her life to prevent her husband Admentus’ death. In Hippolytus, Phaedra chooses to commits suicide as a result of falling in love with her husband’s son and refusing to be deceitful to her husband. Although Alcestis’ love should be considered as moral and virtuous where as Phaedra’s passion for her son was immoral, incestuous and illegal. In these two plays, a major female character challenges the predominately masculine centre pf power and authority and in some way questions the limits of that power. Alcestis forces her husband to confront the gap between the value that he attaches to family ties and affections and the honorific exchange of guest relationship that belong to the outward-facing world of male prerogatives. Phaedra’s erotic passion invades the garden world of idealized purity that Hippolytus would create with his virginal huntress-goddess, Artemis and shatters its defense by opening it up to the power of Aphrodite that he has rejected (both for himself and others) so absolutely. In the process, Phaedra also releases the suppressed violence and hatred that fuel Hippolytus’ total rejection of Aphrodite. .Although Phaedra has passionate desires for her stepson she is thoroughly ashamed of these feelings and as a result of her shame she decides to die by starving herself. She also condemns women who are unfaithful to their husbands as she says ‘And I despise them, women who preach faithfulness to husbands but dare the worst behind their backs. ’ Euripides, therefore, presents Phaedra as a moral woman who is just an unlucky victim of Aphrodite In these two cases the women are impelled to their actions by their intense emotional commitment to house and family. Alcestis and Phaedra both try to ensure their children’s future; and each is prepared to sacrifice her life in the process, although in diametrically opposite ways. In the play Hippolytus we notice the growth and development in Phaedra’s character. She is a dynamic or round character. But Alcestis does not have any growth and development throughout the play. She is a static character. Unlike Phaedra she plays a trivial role in the play. There is a question whether Euripides is misogynist or not. Euripides’ innovation in his Hippolytus is to cast the woman as a sympathetic character, Aphrodite’s helpless victim caught in a divine plan to destroy Hippolytus. His audience expects to see the wicked woman vilified and the virtuous youth exalted; that is the tradition. Instead, Euripides portrays his Phaedra as a highly moral woman struggling against the shame of her passion, while Hippolytus is an intolerant prig. Alcestis’ love is virtual, a sacred love for a husband. But Phaedra’s love for his step son has been considered in the play as sickness. She became love sick. Since her love is not pure like Alcestis so her love defined as sickness throughout the play. Euripides’ sympathetic tone is toward woman is also expressed in the play Alcestis. Alcestis’ fate can be viewed as a reflection of the male- dominated world of fifth- century Athens- her death is decided by her husband, in that he allows her to take his pre-ordained place in Hades; her rescue from Death comes only through Heracles’ intervention. Being led silently from the tomb perhaps symbolizes the woman’s role in the Athenian household as a subordinate figure, from whom it was preferred to hear little. In all, the play shows that the rules of the male world, guest- friendship and hospitality in particular, are more important that the whims of a female, even her dying wish are disregarded. So he can’t be considered as misogynist. Heroes are undistinguished in Euripidean plays. They do not have much heroic qualities. They are very common and simple rather heroines are more focused in Euripidean play. For example in Alcestis, Admetus’ role is not heroic rather he is coward and self centered. He has not any growth and development. Alcestis sacrifices her own life for her husband, Admetus just laments on her wife’s death. He does not try anything to save her beloved wife’s life. Rather it was Heracles who save the Alcestis life and rescued her. In Hippolytus, we notice the growth and development of Phaedra’s character. Phaedra’s love, her passion, her struggle and her death makes her a round character. But Hippolytus’ remains quite inactive throughout the play. He has no contribution to the action of the play. Phaedra and Aphrodite play the main role in this play. They are more focused than Theseus or Hippolytus. According to Aristotle a hero should not be too good or too bad. Hippolytus is too good. He is a debatable hero. He has no growth and development. Unlike Phaedra he is a static character. Deus ex machine is a technique where a god or artificial or improbable device introduced into a play to resolve the entanglements of the plot. This technique is frequently used by Euripides. In the play Alcestis, Heracles acted as Dues ex machine. In the play Hippolytus it is the goddess Artemis who is presented as Dues ex machine. Alcestis is considered as a satyr play. Alcestis is a domestic tragicomedy with a mixture of fairy tale atmosphere and intense personal suffering that in the extant plays reappears again. Although the play begins with a gloomy and tragic mood but the ending of this play is joyous. It has a happy ending though artificial. So this play is considered as a tragicomedy. His play Hippolytus explores the nature of passion, the problem of communication and language and the emotional and the moral pitfalls of intense aspiration and one-sided devotion to the ideal. This play is totally a tragedy. In this play Phaedra commit suicide and the play ends with death Hippolytus. Obviously this play does not end with a happy tone. So it has been considered as a pure example of tragedy. Euripides has come to be increasingly appreciated in modern times for his intellectual subtlety, bold and original dramatic power, brilliant psychological insight, and ability to elicit unexpected symbolic meaning from ancient myth and cult. Critics find the Alcestis a richly rewarding play in many areas. D. J. Conacher explores how Euripides expanded the myth of Admetus and Alcestis, adding comic and folk tale elements to suit the needs of his tragedy. In Hippolytus, he also adapts the myth of Pasiphae the mother of Phaedra and Ariadne, the sister of her. But he relates it to the play by his own way. Throughout his works Euripides struggled to show the human side of his characters and tried to elevate their actions to a status of importance and not just as a consequence of the intervention of the gods. For this reason Euripides stands apart as does his works. How to cite Comparitive Study Between Euripides’ Alcestis and Hippolytus, Papers

Early Number Counting

Question: Discuss about theEarly Numberfor Counting. Answer: Introduction Counting an object twice: many times when children begin to learn counting, it is possible that they often name one object more than once. As a result, one object can be counted more than once. It takes time for children to learn the art of saying one word and pointing at one object and then repeating the same object and says a different number name. as stated in the Australian Curriculum, each other must be counted only once and the order of arrangement does not affect how many they are (ACARA, 2013). Given that the items were not placed in some patterns, a possibility of mixed up can make a child to count one item twice. This could have been one of the mistakes that Lizzie made in the process of counting the plastic dinosaurs. She did not establish one-to-one correspondence. Lizzie must have had momentary lack of attention to note the dinosaurs that she already counted (Reys et al 2009, pg 151). Non-convectional sequencing: In this case, a child begins to count number and skips the correct sequence. For example, counting up to ten then move to twelve then fourteen and skips 15 and 16 and says 17. This is a common error for many children in counting numbers beyond 10. The unique sequence in the teens poses a challenge of counting (ACARA, 2013). Lizzie must have missed the sequences in the teens and thus got 17 instead of 13 that was there. With non-convectional sequencing, children often count numbers that are easy for them to pronounce and ignore others that appear difficult to pronounce. It is common for children to say non-convectional number names. This also reflects the struggle that children go through to remember the number names and the order (Reys et al 2009, pg 148). Rote counting: in this case, a child knows the correct counting sequence but is unable to maintain the correct correspondence between the number names and the objects being counted. As a result, the counter will often say the number names faster than he or she points the actual objects so that the numbers names are not in coordination with the dinosaurs that are being counted. Rote counters may also point faster than they say the number names. In this case, Lizzie must have committed the first error. That is, she said the number names faster than she was pointing to the dinosaurs thus counted four extra. Rote counting affects many children in the elementary stage. Encouraging them to slow down would help improve counting skills (Reys et al 2009, pg 151). Coordination error: In this case, a child continues to count even after touching the last item or not counting until the first item is touched. In either case, there will be an undercount or over-count. In the case of Lizzie, she did an over-count. The problem could have resulted from coordination of the items and the names way after the items are over. Sometimes, children also do repeat counting till they fill they have counted all the items. After counting up to thirteen, Lizzie could have repeated counting four more objects resulting into 17 dinosaurs. The problem could have also been escalated by the fact that the dinosaurs were randomly scattered before so the possibility of repetition was very high (Reys et al 2009, pg 148). Reference List ACARA. (2013). The Australian Curriculum | Version 4.2 dated Thursday, Reys et al, 2009. Counting and number sense in early childhood andprimary years.NY: John Wesley Sons, pg 139-164.